Self- centered, avaricious Californian Charlie Babbitt (Tom Cruise) is informed that his long- estranged father has died. Expecting at least a portion of the elder Babbitt's $3 million estate, Charlie learns that all he's inherited is his dad's prize roses and a 1. Buick Roadmaster. Discovering that the $3 million is being held in trust for an unidentified party, Charlie heads to his home town of Cincinnati to ascertain who that party is. It turns out that the beneficiary is Raymond Babbitt (Dustin Hoffman), the autistic- savant older brother that Charlie never knew he had.

Able to memorize reams of trivia and add, subtract, multiply, and divide without a second's hesitation, Raymond is otherwise incapable of functioning as a normal human being. Aghast that Raymond is to receive his father's entire legacy, Charlie tries to cut a deal with Raymond's guardian.

The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV. Get the latest breaking news across the U.S. on ABCNews.com. L.A. Times entertainment news from Hollywood including event coverage, celebrity gossip and deals. View photo galleries, read TV and movie reviews and more. We love the hand to hand of modern spy movies, magic of kung fu wires, and brawling of adventures. They make us want to double down on martial arts classes. It’s hard to look at the movie—or any of Cassini’s hauntingly beautiful images—and not think of something appropriately morose for its Grand Finale. Clothed Female Naked Male Blog – Updated more often than CFNM pay sites!

When this fails, Charlie "borrows" Raymond from the institution where he lives, hoping to use his brother as leverage to claim half the fortune. During their subsequent cross- country odyssey, Charlie is forced to accommodate Raymond's various autistic idiosyncracies, not the least of which is his insistence on adhering to a rigid daily schedule: he must, for example, watch People's Court and Jeopardy every day at the same time, no matter what. On hitting Las Vegas, Charlie hopes to harness Raymond's finely- honed mathematical skills to win big at the gaming tables; but this exploitation of his brother's affliction compels Charlie to reassess his own values, or lack thereof. A longtime pet project of star Dustin Hoffman, Rain Man was turned down by several high- profile directors before Barry Levinson took on the challenge of bringing Ronald Bass' screenplay to fruition (Levinson also appears in the film as a psychiatrist).

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All three men won Oscars, and the movie won Best Picture.

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The Best Movie Fights We've Ever Seen. Fighting is a cinema staple at this point and no action- adventure would be complete without one. We love the fluid, expert fighting of modern spy movies, the magic of kung fu wire work, the brawling of aging adventure movies.

They’re all exciting donnybrooks that make us want to double down on our martial arts training. But even if we talk about learning how to fight and how and where to punch someone, we know that some things should probably stay in the movies. They do them way better anyway. Here are the best movie fight scenes of all time. Snatch – The Pikey One- Punch Fight Ender.

One- punching someone has become Hollywood shorthand for being a badass. We’ve seen Sherlock Holmes, Jason Bourne, Schwarzenegger, and any number of action stars do it, but the best we’ve ever seen was Brad Pitt’s Pikey. In only one scene, we get the ultimate characterization of Mickey O’Neil, a guy who won’t be bullied into submission, who can take multiple hits and pop right back up, and who sees his commitments (or at least the way he interprets them) through to the end. Add on that Guy Ritchie is pretty much the only director who could handle a sequence like this, with perfect command over the energy of the scene and how to best convey it to the audience.

Mickey pops in and out of frame while Gorgeous George lumbers through each shot. And the sound work when Mickey lands his one punch is jarring, screeching, quick, and echoing, exactly how we’d imagine getting hit like that feels. John Wick – Nightclub Shootout. John Wick has a special place in our hearts, mostly because it’s easily one of the most honest movies we’ve ever seen. At no point does it try to pass itself off as art house cinema or over- write the plot. It’s a simple revenge story with great action and doesn’t pretend it has something to say.

The best example of what John Wick has to offer comes during the shootout at the nightclub. It opens with some excellent, brutal stealth, but once John’s cover is blown, he switches gears to smooth gunfighting and chews through dozens of guys on his way to Theon Greyjoy.

For us, what really elevates this scene is the setting. The color palette is unlike anything anyone’s experimenting with these days. Flashing lights and neon pour out of the screen, bringing the club to vibrant life. Instead of the claustrophobic fights of the Bourne franchise, John Wick fights his way through a more open space, starting in a bath house, moving to the main club floor and padded VIP type section, and ending on a busy city street. The soundtrack changes with each location change, as does the lighting, making it one of the most visually and sonically compelling fights we’ve ever seen. Oldboy – Hallway Escape.

Consider this a minor spoiler alert. This fight scene comes after Dae- Su is first abducted and spends years punching a solid concrete wall. A man spending a decade and a half eating gruel, getting drugged, and punching a wall is harsh enough to start a movie, and the fight that comes when it’s time for him to escape follows that harshness.

It’s not a slick, parrying, flowing bit of combat. It’s a dozen or so guys trying to wail on an aging prisoner using whatever weapon anyone can lay their hands on.

It’s also a scene that acknowledges the toll fighting can take on the body. Not just in injuries, but in physical exhaustion and fear. Dae- Su’s attackers are constantly trying to psyche themselves up to attack the guy who keeps bone- breaking his way to the elevator. Add in that no one gets knocked out and instead stay on the floor groaning and rolling around and you get something that’s probably a lot closer to a normal street fight. The Raid – Hallway Knife Fight.

This one goes right under the scene from Oldboy because they’re similar in setting and motivation, though different enough in execution, if you’ll pardon the pun. Our favorite thing about this fight is how it blends two separate genre tropes. The first is the fluidity of the kung fu. Rama moves from combatant to combatant with practiced skill. Each move flows into the next, even when Rama’s on the receiving end, and it’s a pleasure to watch him work his way down the hallway during his escape. The other half of the blend is the grisly violence of the fight.

Most kung fu fighting that we’ve seen, while quick and hard hitting, tends to shy away from blood. The Raid goes right for it, giving Rama a police club and a combat knife, with the latter getting a lot more use. He shreds his opponents up pretty well and there’s more than one fatal hit thrown in there. Watch You Gotta See This! Online Hollywoodreporter here. Mixing in such gruesome violence is a great way to communicate the desperation of the officers as they make their way out of the building and we appreciate injecting some intelligence into its inclusion. Snowpiercer – Tunnel Battle. Snowpiercer by itself is a movie worth watching. Built on top of a fairly simple story structure (a man leads a rebellion against the oppressors) is one of the most creative settings we’ve ever seen.

As the group of rebels makes their way from the back of the train to the front, they encounter every strata of their society. From their own humble beginnings in the slums to the middle class hair salons and clubs to the absurd luxury of the first few cars. The scene works so well because of how the movie has built to it. The train’s world has been wonderfully fleshed out, with the rebels already having encountered some truly horrifying stuff before, so when we finally get to this car’s occupants, who can only be described as (because they are) hooded, black leather clad, axe wielding maniacs, it’s unexpected, but not necessarily a surprise. The violence that ensues is another great microcosm of the train. The rebels are panicked, jumpy, and untrained, while the maniacs zealously work through the front ranks of their attackers.

Anchorman – Newscaster Back Alley Brawl. Watch American Beach House Streaming. Most of the fights on this list are serious, polished encounters. They’re parts of the movie where we learn more about the characters, there’s some sort of emotional payoff, or are the climax of the movie (or at least one of the minor arcs). For Anchorman, none of that applies. The whole scene is one big punchline. It works completely separately from the major conflict of the movie and happens only because someone thought it’d be a funny change of pace. If all the other fights on this list are moments of great tension, catharsis, or character building, the newscaster brawl is a moment where everyone collectively decided movies take fights a little too seriously.

The Bourne Trilogy – Pen Fight, Magazine Fight, and Desh. For our Bourne picks, we can blend the first two fights together, since we like them both for the same reason: improvised weaponry. Both fights have Bourne going up against guys with traditional weapons, be they guns, knives, or their own hands. The setup is fairly standard, but where other action movies have the hero either disarm or steal the weapon from their attacker, Bourne arms himself with whatever’s nearby and they end up being the things that really turn the fight in his favor. Repeated stabbings from the pen and a couple good hits around the head from a rolled up magazine do a lot to wear someone down. But even more than that is the entire fight with Desh. It’s easily the most brutal, exhausting fight of the whole series and incorporates everything we love about the series.

The chase sequence leading up to it is awesome. Since it blends slow suspense with heart- pounding speed, the stunts are exactly what we’d want from a Bourne movie, and the fight takes everything that came before and perfects it. Magazine Desh. The Matrix – Neo vs Mr. Smith in the Subway.

There’s no better scene in The Matrix to show exactly what we like about it than this one. The ever threatening Mr. Smith, Keanu Reeves greatest role besides Ted Theodore Logan, Morpheus constant philosophizing, and stellar kung fu. It’s quick, it’s stylized, it’s tinted green, what more could you possibly want?